THE OLD MAN & THE GUN

Robert Redford     Casey Affleck     Sissy Spacek     Danny Glover

Tom Waits     Keith Carradine     Tika Sumpter     Elizabeth Moss

     Charming, but incorrigible, Forrest Tucker’s sociopathic personality comes through when he meets a woman in a diner, and quickly wins her trust.  The woman is Jewel (Spacek), a lover of the simple life, horses, and the rolling fields surrounding her property.  He is evasive when she asks his name and what he does for a living, and he gives her his real name, which, at this point, is not broadcast in the stories about him, and finally lets her know that instead of “makin’ a livin’”, he believes in “livin’”.  It’s obvious that he has an admirable way of blending together truth and fiction into a believable story.  And like many who encounter Forrest, many suspect he is lying, but it doesn’t seem to bother them…because he’s so nice!

     The truth is that Forrest is a bank robber who has been imprisoned and escaped 16 times, beginning when he was just a kid.  It’s noteworthy that all the tellers who get robbed describe him as “such a gentleman”, “very polite”, a “nice-enough fellow”, and “happy.” He’s always well dressed and charming, encouraging them, and thanking them for accommodating him.  He and his pals, Teddy (Glover) and Waller (Waits), manage to get away with thousands of dollars.  They’re in the news, and even the police shake their heads, finding it preposterous that these old men are so capable.  

     Detective John Hunt (Affleck) is the beleaguered policeman charged with apprehending Tucker.  Although he seems to be as obsessed with being a good policeman as Tucker is about being a good robber, he is different in his self-doubts and struggles with his occupation.  His wife and superiors give him room to quit the force, but he determinedly stays on.  Even when the FBI intrudes itself into the case and he has a chance to step back, he doesn’t. Then he gets a tip that tells him exactly who Forrest Tucker is.

     Robert Redford pulls off this role in his usual expert fashion; probably no one else would be up to his personal aptness and level of skill.  It’s rewarding to see Sissy Spacek again in a role that suits her to a T as well.  Finally, Casey Affleck likewise performs as the kind of brooding character he has done so well in other films.  Danny Glover and Tom Waits make great sidekicks for the Redford character.  I was a bit disappointed there is not one of Tom Waits’ songs in the music.  Elizabeth Moss has a wonderful cameo at the end.  In a way, this film reminded me of David Mackenzie and Taylor Sheridan’s Hell or High Water in the nobility of the robber, but it kept up a level of excitement and humor a little more than is the case for this film.

     The script for The Old Man & the Gunis based on a true story, which was written up for The New Yorker Magazine by David Grann, who subsequently penned the script for this film.  Grann has a way of capturing his audience’s interest and maintaining suspense in his writing, just as he did for The Lost City of Z, The Devil and Sherlock Holmes, and Killers of the Flower Moon:  The Osage Murders and the Birth of the FBI.  In Director David Lowery’s capable hands, the movie becomes worthy of Robert Redford’s distinguished reputation in filmmaking, and a fitting tribute if it is indeed his last acting role.  Daniel Hart’s lyrical, moving score puts finishing touches on this fine production.

Charm is the name of the game in this engaging, suspenseful story.

Grade:  B+                                              By Donna R. Copeland

SOUTH SIDE WITH YOU

Tika Sumpter     Parker Sawyers

          This depiction of the beginning of a love story is something probably every couple wishes they could have.  Of course, it’s done with talented filmmakers led by writer/director Richard Tanne, and is respectful as befitting U.S. President Barack Obama and First Lady Michelle Obama.  At the same time, it’s also delightfully revealing.  I had heard that she gave him a hard time in the beginning, but I hadn’t realized she was so feisty.  (Making me wonder how she transitioned into such a unifier across the years.) 

          Southside with You shows Michelle’s reluctance to date Barack in the beginning, for good reason; she was his supervisor at a big law firm, and she had to be very circumspect to counteract prejudices toward blacks and women.  And while he was respectful of her opinion, he wanted to date her so much, his charm (her term is “smooth”) eventually won her over.  He only got her to go with him the first time when he invited her to a Southside (Chicago) community meeting, which piqued her interest; but little did she know he planned to spend the whole day with her.  Their interchanges during the date are very entertaining—like listening to two opposing attorneys argue about a very interesting case.  We also witness Obama’s speaking skill in addressing a group, reasoning with doubters, and ultimately winning them over.

        Another aspect that was intriguing to me was the way each listened to the other’s personal stories, then had insightful comments to offer.  For instance, after he was critical of his father a couple of times, she observed that he needed to forgive his father and move on rather than “living your life against his.”  What comes across in their discussions is their equality in discussing important, personal matters, as well as their support of one another.  Of course, they laughed and had fun; it was not all seriousness.

         Tracy “Twinkle” Bird had a sharp eye in casting Sumpter and Sawyers for the major roles, and the actors came through in looking like the real people through gestures, speaking voices, and demeanors that we have come to recognize and know so well from this famous couple.

          I’d like to note that the film is not a “Democratic” product/propaganda; it is genuinely a love story that could be considered typical of well-educated people in their 20’s/30’s, and would be open-ended if we didn’t already know how it turned out.  Tanne’s approach to the material, the tone, and the choices of what to show make the film both entertaining and informative.  The integration of Stephen James Taylor’s music with the drama and cinematography (Patrick Scola) is seamless, making the film a fine work of art.  The final song played during the credits and Scola’s blurring of the picture during transitions reinforces this observation.

          I wish we had seen a “To be continued…” sign at the end so we could see more of the everyday life of these fascinating individuals.

A low-key but fascinating story about the beginning of a love affair.

Grade:  A By Donna R. Copeland